Chapter 5 Masks and Iconography Stephen Houston

he Early Classic stuccos from the Temple of the Night Sun (Strs. F8-1-Sub.1B and F8- 1-Sub.1C) stand apart for their complexity Tand quality. In the past, their effect must have been overwhelming. Deep, volumetric of- fered a bold show at dawn and dusk. Depending on weather, raking sunlight would slant across the Temple’s high location on the Buenavista Escarpment, a display enhanced by the saturated red color of the stuccos. It is surely no coinci- dence that the Sun God dominated the iconog- raphy of the Temple. Yet the high relief posed certain challenges, too. Excavations proved that portions of the elaborate façades had sloughed off even before the Temple’s abandonment and burial. Ambitious in conception, the stuccos were poorly bonded to their backing. For some of their visible lifetime, they were as much examples of decay as triumphant, unblemished commissions of the local dynasty.

The Program Most of the exposed and documented stucco sculpture appears on the Temple’s cornice, ex- tending around all sides of the building. In addi- tion, remnants of sculpture occur on the front of the Temple’s roofcomb. Damaged by rainfall and slump since its exposure by looters, the roofcomb was nonetheless documented in situ by Martin Diedrich, who took photographs in 1980 (see Chapter 2). Diedrich’s images, along with what

Figure 5.1. The Sun God (Mask 3), on the northeast corner of the Temple of the Night Sun, and Chahk (Mask 4), on the northern façade. Image: Katie Simon, CAST.

2015 In Temple of the Night Sun: A Royal Tomb at El Diablo, , by Stephen Houston, Sarah Newman, Edwin Román, and Thomas Garrison, pp. 208-229. Precolumbia Mesoweb Press, San Francisco. Mask 8, above the doorway to the Temple. Masks 9 and 10, on the western façade, are still in fill but must correlate, presumably in their content too, with Masks 6 and 7. Mask 11, attested in a photograph by Diedrich, appears to have the end of a twisting facial “cruller” passing through its earspool and matches Mask 5 on the northern façade in this respect. Mask 12 is another Chahk on the southern façade. Masks 13 and 14 are unexcavated but must have resembled Masks 2 and 3. Further, Masks 5 and 6 associate with niche-like features that call to mind the slightly later Shrine 5 3 4 erected in front of the Temple (see Chapter 2). The likelihood is that the overall program was sym- 6 metrical, making it possible to 2 understand the whole without complete excavation—the unexposed corners are too close 7 to the surface to allow exhaustive work. Two Chahk heads (Masks 1 4 and 12) on the north and south sides of the temple appear to be virtually identical in form and 8 placement, suggesting bilateral patterns on the cornice (Figures 14 Figure 5.3. Forward-facing Chahk head (Mask 4) from the Temple’s northern façade, with 5.3 and 5.4). Just above the Chahk remains of seated male figure above. Drawing: Mary Clarke. heads, the lower portions of two seated figures can be discerned. 9 The figure on the north side remains on view, show a central mask with 1982:Fig. 1). The Hauberg Stela at the Princ- (Figure 5.3) wears triple belt celts large earspools on its main, east-west axis. eton Museum of Art displays comparable on his back and a skirt bordered 13 Presumably, a seated body, not excavated holding a curving serpent (Figure with beads. A diagonal element 12 because of structural instability, was linked 5.8b; Schele and Miller 1986:Pl. 66). with a prominent yax sign crosses 10 to the mask, thus composing an entire fig- Among the most important motifs on the thigh. The horizontal knotted ure. The mask was heavily affected by burn- the sloping cornice are massive, frontally element below could be either nd 11 ing when Str. F8-1-2 (the Middle Temple) facing masks. Ten are now attested, part of the same belt assemblage was constructed; pieces of fire-darkened, most by excavation but one solely by a or his loincloth folded under his red-painted stucco mix with fill in front of Diedrich photograph. The overall number knees. The diagonal belt element the mask. Vertical placement on the roof- must have been 14, with only those on the is common in royal male costume Figure 5.2. The extant masks on comb suggests that the figure was seated, southeastern and southwestern corners and often has a pendant Chahk the upper frieze of the Temple much like that on the recently discovered unaccounted for. To facilitate discussion, figure, as on the Early Classic of the Night Sun. For the façade at , Guatemala (Than 2013). these are labeled in counter-clockwise Stelae 28 and 39, Uolantun individual masks see Figures 5.14–5.21. Drawings: Stephen To the side, in fragments that have slumped order (Figures 5.2 and 5.14–5.21): Mask Stela 1, and the Late Classic West Houston and Mary Clarke. a meter to the south since 1980, was a verti- 1, eastern façade, at the back axis of the Jamb of the Temple of Foliated cal element clutched by a deity, identified Temple; Mask 2, eastern façade; Mask 3, the Cross at (e.g., Jones by the ovals or “god-markings” on the body. Sun God, at the northeastern corner; Mask and Satterthwaite 1982:Figs. Similar beings are found on the Early Classic 4, the storm god Chahk, northern façade; 48, 76). The seated ruler on the Stela 1 at Tikal, perhaps as part of a lateral Mask 5, a GI-semblant, northern façade; fragmentary Stela 18 of Tikal is backrack extension or as an element in some Mask 6, a largely destroyed sculpture on notably similar to the celestial tableau (Jones and Satterthwaite the western façade; Mask 7, western façade; figure, including the pendant belt

Temple of the Night Sun 210 211 Masks and Iconography Figure 5.5. Early Classic scene of ruler seated in profile atop zoomorphic mountain; Tikal Stela 18. Drawing: Karl Taube, after Jones and Satterthwaite 1982:Fig. 26a.

Figure 5.4. Chahk head (Mask 12) from the Temple’s southern façade (remaining iconography and architecture largely destroyed by looting), beneath female with beaded skirt on roofcomb. Drawing: Mary Clarke.

Figure 5.6. Deity masks (Masks 1, 2, and 3) on the sculpted band that encircles the Temple. Beneath the band on the lower façade is a downward-pointing serpent head. Drawing: Stephen Houston.

“darkness,” may occur with Mask 8 sign. An especially important and lower west façade of the Temple (Figure celts, diagonal belt element, and beaded the east façade between Masks 2 and 3. all have glyphic signs atop their brows, above the front doorway (Figure 5.10). diagnostic trait of the JGU is the facial 5.10). skirt (Figure 5.5). A -style Excavations in 2013 exposed a massive most likely an epigraphic convention Most of the masks denote aspects of element, often referred to as a “cruller,” With his attributes of darkness, wa- headdress or more probably a deity serpent head with its snout pointing for naming them. The practice is also the Sun God, with the majority alluding that frames the lower portions of the ter, and , as well as facial features head rests in the Tikal figure’s lap. The downward beneath Mask 2 on the north- attested on portrayals of Classic Maya to the deity known to scholars as the eyes and twists above on the central of the sun deity, the JGU plausibly rep- pendant beaded element before the knee ern portion of the east façade. There royalty, as on Stela 40 of Tikal. However, God of the Underworld (hereaf- brow just above the nose. At times, as resents the nocturnal Sun God, perhaps of the El Zotz figure could also form was surely another on the southern end. since these are the uppermost, highly ter JGU). In Classic Maya calendrics, this in the case of an example on the front at his midnight nadir in the underworld. part of a headdress. During the Late Preclassic and Early exposed portions of the masks, they god appears as the personified glyphs of Tikal Stela 31, the cruller is marked Aside from the El Diablo façades, one of The opposite south façade features Classic periods, pairs of similar serpent tend to be poorly preserved. Most ap- for the day Kib and the number seven, with a beaded water motif, which is also the most conspicuous examples of this another seated figure, although in this heads often mark the ends of skybands, pear to be smaller heads with earspools, as well as the patron of the month Wo consistent with the spiral eye appearing being occurs on the Jaguar Stairway on case one that wears a beaded net skirt, as on sculptures at , , but three have partly legible signs. The (Thompson 1950:Figs. 9.52, 22.8-10, in some water bands (Figure 5.7b; the west side of the East Court in the a frequent costume element of royal , and . Many, too, Sun God—Mask 3—was labeled by a 24.38-41). With his large eyes and Houston and Taube 2000:Fig. 19h, i). In Copan Acropolis, in that case flanked women (Figure 5.4). We suspect the two have a circular blossom at the tip of the compound consisting of raised hands profile, he displays some of the basic Classic Maya iconography, the under- by massive star signs (Baudez 1994:Fig. figures constitute a royal couple. In this snout (e.g., Taube et al. 2010:Figs. 26, supporting a yu syllable, along with features of the diurnal Sun God, K’inich world was an aquatic place, part of a 105). Moreover, William Fash (personal regard, the pattern would resemble Tikal 30, 31). As will be noted, a pair of heads a schematic, inverted face in between , but with important distinctions. sea sustaining the world (Finamore and communication, 1996) notes that there Stela 40, which has the parents of K’an of the same creature, symmetrically (Figure 5.16). A remarkable feature is Although K’inich Ajaw can display Houston 2010; Taube 2010). Although is a similarly massive head of K’inich Chitam on the sides, the mother again oriented, flank Mask 7 on the excavated that the glyph was amended at some jaguar ears, this is invariably the case the watery nature of the facial features is Ajaw that probably faced the JGU on with net skirt (Valdés et al. 1997). Below principal portion of the west façade to point. A face with deep mouth and for the JGU. In addition, he has spiral consistent with underworld symbolism, the east side of the courtyard, placing the two seated figures is a sculpted band the north of the central doorway (Figure sharply defined trefoil eye was covered eyes, in contrast to the cross-eyed pupils (1998) notes that the JGU them in a dyadic relationship as eastern with large deity masks that encircles the 5.10), with another probable pair on the by stucco to create a more stylized of the Sun God. As noted in a previous may well constitute the Classic Maya and western aspects of the Sun God building (Figure 5.6). The lower half of other side of the doorway to the south. visage. Mask 4, a Chahk, recorded a publication (Houston and Taube 2000), fire god, hence his prominence in (Maudslay 1889-1902:1:Pl. 10b). This the band has stepped frets that look like The long tabular element above Mask sky sign, a bundle, and superimposed the spiral motif designates darkness as supports at Palenque (Cuevas García also suggests that the dawning sun woven textile, but the upper portion 7 could well be a skyband with the volute, perhaps a vocalization; the distinct from the brightly shining eye 2007). In addition, the jaguar ears of the would light the face of the eastern- represents a skyband, including a star or serpent heads descending at both ends. link with a resonant sky fits well with of the day sun. The cheeks of the JGU JGU commonly emit flames and smoke, facing JGU on the west side of the court Venus sign of angular, archaic form on As for the nine extant deity masks, Chahk (Figure 5.17). A glyph for ak’ab, often bear the so-called ak’bal, “night,” as in the case of a massive JGU on the while, conversely, the diurnal sun on

Temple of the Night Sun 212 213 Masks and Iconography the east side faced to the west. The same glyph of the JGU in the lengthy text the Temple of the Sun at Palenque atop shield motif, all of the other documented masks pattern occurs on the stairway image of on the back (Figure 5.7c). In fact, this two crossed spears, again with four from the El Diablo façades share features of this K’inich Yax K’uk’ Mo’ from the imme- glyph could be an epigraphic reference feathered bosses rimming the edge program. In tight unison, the three traits appear diately adjacent Temple 16 in the West to the El Diablo Temple (see Chapter 6; (Maudslay 1889-1902:4:Pl. 88). Although in Mask 5 at the northwest corner, with Principal Court of the Copan Acropolis, where Houston et al. 2013). While not the JGU, well attested in the Late Classic period, Bird Deity heads at the base, earspools with he appears as the rising day sun facing Mask 7 from the west façade has similar the El Diablo Temple motif would not beaks, and profile fish heads above. The prin- west (Taube 2013). The orientation of the eye elements passing through earspools, be the only Early Classic JGU shield. A cipal central mask above the western doorway, East Court sculptures at Copan indicates although in this case descending from ceramic lid from a royal tomb in Str. IX Mask 8, displayed all three elements as well, that, while K’inich Ajaw denotes the the brow. The undulating ends that at , , portrays a central although only the upper portions of the lower east and the diurnal celestial sun, the rise through the earspools signal that face framed by a circular device with bird heads remain. JGU represents the west and the sun in they are probably serpents; indeed, a four feathered bosses, a version of the Another basic attribute of Early Classic deity b a the dark underworld. Protoclassic stucco mask from the North Late Classic shield noted for Palenque masks as well as royal headdresses is a “ In the El Diablo Temple, the orienta- Acropolis at Tikal portrays a form of the (Campaña and Boucher 2002:69). In strap” head just below the main portrait, as can tion is quite the opposite. The JGU as JGU with the cruller clearly terminating addition, this central face is rimmed be vividly seen with the headdress raised by the night sun dominates the western in a pair of serpent heads (Figure 5.7a). by the same woven motif found with Sihyaj Chan K’awiil on Tikal Stela 31 (Jones and doorway (Mask 8). As a prominent The concept of serpent heads passing the Palenque example. As noted by Satterthwaite 1982:Fig. 51). This convention is building at the western edge of El Zotz, through earspools is commonly found Campaña and Boucher (2002:69), the so central that it was copied at Teotihuacan as a the Temple also faces west, and its with Early Classic portrayals of witz central face portrays the night sun, in ceramic almena mask of a probable Maya king, d central theme might be the night sun “hill” heads, although in this case they other words, the JGU. Although this is including the elaborate earspool assemblages orienting west to mark its descent into emerge from the corners of the mouth certainly the case, the visage is still more as well (Taube 2003b:Fig. 11.1a). The meaning the dark underworld. The concept of a (Taube 2003b, 2004b). These beings complex, as it has the fur and beaded of this lower face remains obscure, although it temple dedicated to the night sun also constitute the “breath of the mountain,” elements found with the howler monkey could well signify the support and “vehicle” for appears in Classic Maya iconography, in other words, wind. In fact, Vincent scribe, as in the case of the two remark- the main face above. In many cases, the head is including a Late Classic vase portraying Stanzione (personal communication, able vessels discovered in Burial 9 (see a serpent, the most widespread creature as- a temple marked with eyeballs denoting 2000) has noted that in Tz’utujil the Chapter 3). The left cheek of the Becan sociated with the travel of supernatural beings, Figure 5.7. Maya iconographic darkness and the head of the JGU on the term for wind is xlaajuyu’, meaning face is black, the other is red, and this including bicephalic serpent bars as well as the motifs pertaining to the Jaguar God of the Underworld (JGU): roof (K5538). Moreover, the concept of “mountain breath” (Saturno et al. could well allude to dusk and dawn. In great plumed serpent emerging from Flower (a) JGU as an aspect of the dark temples dedicated to the night sun can 2005:25). If serpents emerging from witz this regard, it is possible that the JGU Mountain in the Late Preclassic north wall mural “Shiner” with spiral eyes and be traced to the Late Preclassic period maws denote breath, perhaps snakes shields pertain to the concept of raising at San Bartolo (Saturno et al. 2005). ak’bal cheek markings denoting (ca. 100 bc). Mural fragments excavated terminating eye elements constitute one’s shield at dawn, when battle A noteworthy trait of several of the Temple darkness (drawing: Karl Taube, from the Ixim temple in the Pinturas an aspect of sight as a form of “vision became possible. If so, the JGU shields deity masks is a crenellated element encircling after Coe 1990:4:Fig. 97a, 5:Fig. Group at San Bartolo depict what serpent.” Serpents of vision and sight of the El Zotz Temple are on the eastern the mouth, much like a beard (see Masks 4, 8, 314); (b) JGU with facial “cruller” and smoking jaguar ear; detail appears to be a temple roof with the would be entirely appropriate symbol- side to receive the first rays of dawn. and 12 in Figure 5.2). Rather than hair, this motif c of Tikal Stela 31 (drawing: spiral eyes denoting darkness framed ism for imagery pertaining to aspects of In contrast to the probable JGU shield probably alludes to blood, and it appears on the Karl Taube, after Jones and by the JGU cruller, a secure reference to the Sun God. motif, the other deity masks from the Hauberg Stela falling from the mouth of GI—an Satterthwaite 1982:Fig. 51c); (c) this being, despite the fact that there are Directly above the massive celestial Temple façades have elaborate earspool aquatic aspect of the Sun God—in a stream glyph of JGU from Tikal Stela 31 as yet no explicit representations of this serpent head on the eastern façade, compositions at the sides of their heads. that carries three dismembered human figures (drawing: Karl Taube, after Jones and Satterthwaite 1982:Fig. 52b, god for the Late Preclassic (Figure 5.7d). there is the face of the JGU within a First known from Kohunlich in southern (Figure 5.8b). It is also marked by crosshatched H5); (d) Late Preclassic scene of This repetitive cruller motif also appears square frame having four prominent , these earspool groupings undulating elements, rendered in red as an probable temple roof with spiral on a Late Classic panel from Pomona, bosses at its corners (Mask 2). Although are now widely documented for Early explicit blood band on an Early Classic vessel eyes and facial cruller found with , portraying a shield rimmed this is the only example documented for Classic stucco façades as well as ceramic lid from Becan (Taube and Houston 2010:Pl. later Classic-period depictions with “death eyes” denoting death and the many masks constituting the upper urns, in most cases with aspects of the 82). At Tonina, in highland Chiapas, a pair of of JGU (drawing: Karl Taube, darkness (Figure 5.7e). The shield center frieze, it probably occurs as well on the Sun God (e.g., Hellmuth 1987:75-78, balustrades depict jaguar heads with similar after Román et al. 2009:Fig. 9); (e) fragmentary altar of probable contains the cruller element atop a unexcavated southern portion of the 81-83, 86-87, 107-109; Taube 1998:Fig. crenellations bordering blood scrolls (Figure shield rimmed with eyeballs, jaguar pelt, a probable allusion to the same wall (the hypothetical Mask 14). 14a-b). The most common composition 5.8c). It is quite possible that this motif rimming containing a probable version of face of the JGU. The square motif probably constitutes is a central earspool with profile heads the mouth of the Temple masks shows them to the JGU facial cruller; Late Classic One of the striking and unusual an early version of the JGU shields of the Principal Bird Deity at the base be “blood drinkers,” which would be consistent Pomona (drawing by and courtesy traits of certain JGU heads, seen on commonly wielded by Classic Maya and a fish or “Xok” head at the top, with the sanguinary, war-like nature of the of David Stuart). the Temple and elsewhere, is that the kings. On Stela 9, a shield not which seems a striking contradiction of Maya Sun God (Houston et al. 2006:123, Fig. twisted cruller element penetrates their only shows jaguar pelage but is marked the Principal Bird Deity as an embodi- 3.21). However, aside from the diurnal sun and earspools and even the jaguar ears in u-[K’IN]-chi-NAL (Greene et al. 1972:Pl. ment of the sky and the fish as a basic nocturnal JGU, the Chahk masks on the north the case of the JGU on the lower Temple 93). Of uncertain meaning, it may read reference to the watery underworld. and south sides of the Temple (Masks 4 and façade. The earliest known example u k’inichnal, “his Sun God Place,” or, Beaks often protrude from the sides of 12) also have this facial element. Although not appears on the San Diego cliff relief in parsed another way, u k’in ichnal, “his the central earspools, suggesting macaw known for Maya depictions of the rain god, Late the northern Peten, dating to roughly ad sun presence,” in either instance refer- heads with large, round eyes, but as of Classic Maya depictions of the Central Mexican 300. The trait also appears on Stela 31 at ring to solar beings. One of the most yet there is no secondary evidence, such god of rain and lightning, Tlaloc, portray him Tikal, both in a belt piece worn by the elaborate and best-known examples as beading around the eyes, to suggest with a trefoil blood scroll in the mouth, includ- ruler, Sihyaj Chan K’awiil, and a portrait of this shield appears on the Tablet of this attribution. Aside from the probable ing a massive example from Temple 16 at Copan e

Temple of the Night Sun 214 215 Masks and Iconography Figure 5.8. The “spoked” blood motif in Maya of the western cornice, doubtless ear commonly found with the iconography: (a) Late Classic Maya portrayal matched with an unexcavated JGU, he lacks the spiral eye of the of the Teotihuacan rain god Tlaloc with trefoil southern counterpart (Mask 10). nocturnal Sun God. Instead, he blood scroll in mouth; detail of stairway sculpture from Temple 16, Copan (drawing: Below the nal elements, there displays the cross-eyed pupils of Karl Taube [2004b:Fig. 13.12b]); (b) Protoclassic are also the remains of the the diurnal Sun God, appearing Maya depiction of sacrificial blood falling profile earspools and avian heads. epigraphically as the patron from the mouth of a god; detail of drawing Although of slightly different for the month Yaxk’in and the of Hauberg Stela (drawing: proportions, it is possible that personification of the numeral courtesy of David Schele); (c) stucco balustrade Mask 6 and the hypothetical Mask 4 (Thompson 1950:Figs. 22, 24). sculpture from Tonina of feline with trefoil blood scroll in mouth (drawing: Karl Taube, 10 were versions of the same However, most Classic-period Sun after Becquelin and Baudez 1982:Fig. 24). being above the western doorway Gods have crossed-eyed pupils (Mask 8). delineated only by an incision. By The north façade JGU, Mask 5, contrast, Mask 3, the northeastern has a shark tooth as a central inci- solar deity, has rectangular holes sor, a convention common with GI cut out, thereby creating sideways but not with this being (Figure 5.9). L-shapes. For the El Zotz mask, However, the two gods do overlap this is a decidedly archaistic in physical appearance, including convention that is best known for the spiral eyes, the two major the Late Preclassic period, includ- differences being the facial cruller ing deities from the murals at San and burning jaguar ears of the Bartolo, Guatemala (Saturno et al. JGU, as well as the shark tooth and 2005:Fig. 30). The meaning of the a fish fins or barbels on the cheeks of hollowed pupil remains obscure, GI. Although rare, there are other but it could allude to a “passage- examples of the JGU displaying a way” opening to the numinous shark tooth canine, including one place of gods and ancestors, and from the front of Tikal Stela 31 perhaps to the play of light and (Jones and Satterthwaite 1982:Fig. shadow on the Temple. 51c). Although Mask 5 is the only Just to the north of the central JGU on the Temple displaying an JGU above the western doorway, intact incisor, the other examples there is another deity, Mask 7, may have also had the same shark which lacks feline or sun god tooth. attributes (Figure 5.10). Given For the east side of the build- the clear bilateral symmetry in ing, another feline being with the façade program, this would jaguar ears, Mask 1, appears have been paired with another Figure 5.9. Mask 5, a Jaguar God of the Underworld, from the Temple’s on the upper frieze south of on the opposite southern side of northern façade. Drawing: Mary Clarke. the probable JGU shield, Mask the doorway, the hypothetical 2, with another corresponding Mask 9. As with JGU masks on scribe twins of the sixteenth-century K’iche’ feline-appearing snout and trefoil brows mask probably further south, the the western and northern façades, (W. Coe 1990:5:Fig. 317; see also of Chahk, the masks also have Spondylus b hypothetical Mask 14. Mask 1’s facial serpents pass through the M. Coe 1978). It is likely that a still earlier earpieces, a diagnostic marker of the Classic sunken features and small pair mask’s earspools. However, in building from the North Acropolis, dating Maya god of rain and lightning. However, c of canines suggest an aged god this case they are distinct from the to the third century ad, also bore masks the earpieces also contain earspools, with chapfallen face. Given the JGU facial cruller, as they extend of these beings (Coe 1990:4:Fig. 96). Two with jade often placed in Spondylus shells condition of the mask, the identity down from the brows rather than downwardly facing serpent heads with in Classic Maya caches (Finamore and of this being remains elusive, but rise from the cheeks. It is possible floral-tipped snouts flank Mask 7. Although Houston 2010:Pl. 89). The swirling elements with projecting tabs, a simpler form of the cartouches containing diagonal bands, one possibility is the jaguar deity that the pair of masks depict the the snouts are bent rather than straight, directly above the earpieces are probably crenellation blood motif (Figure 5.8a). which denote shining reflective surfaces in appearing as one of the two aged howler monkey scribes, which they are the same serpent on the lower profile fish heads, although in this case The Temple masks pertain directly to its Maya iconography. On one cartouche are the “Paddler Gods,” a dark solar be- in the Early Classic appear with façade of the east wall below the skyband oriented vertically. Mention has been made westerly orientation, with most depicting remains of curling vegetation to one side, ing with jaguar attributes paired similarly snarling muzzles and (Figure 5.6). The horizontal rectangular of the probable crenellated blood scrolls elaborate portrayals of the JGU, including and a more complete example from Mask 5, opposite an aspect of the diurnal beaded beards, including the element above Mask 7 and the serpent pouring from the mouths of some of the Mask 8 above the west doorway of the a JGU mask from the north façade, reveals sun (Stuart 1988:189-193). ceramic examples from the nearby heads may also have been part of a celestial Temple masks; the Chahk examples are the Temple (see Figure 5.2). His headdress is that the cartouche and vegetation denote an The northeast corner of the royal tomb (see Chapter 3). In register. best preserved. These blood elements may topped with a glyphic element containing ear of corn, or nal. In fact, many Late Classic Temple bore an image of the Sun addition, a large-scale pair of Just below the seated royal couple on be personified with eyes or jeweled ele- the sign for darkness, an element com- masks and headdresses have nal God, Mask 3 (Figure 5.16), with southwardly facing masks on Str. the north and south cornices of the Temple ments still visible on the better-preserved monly found on the cheeks of this being. signs above the earspools (Taube 1985:Figs. one probably at the southeast 33-2nd from the North Acropolis at are the Chahks, Masks 4 and 12 (Figures 5.3 Mask 4. In addition, the profile fish heads above 2g, 9f). A fragmentary nal sign can also be as well, Mask 13. Although Tikal probably depict the same be- and 5.4), with the best preserved being the Below the masks on the upper frieze, the earspools are surmounted by circular discerned on Mask 6 on the northern end possessing the burning jaguar ing and may relate to the monkey northern example, Mask 4. Along with the elaborate sculptural programs are also

Temple of the Night Sun 216 217 Masks and Iconography a b c

d

Figure 5.11. Trophy heads and flayed faces in ancient : (a) inverted severed head atop leaves; detail of stucco façade from Late Classic Tonina (drawing: Karl Taube, after Yadeun 1993:113); (b) flayed face of the version of Xipe Totec with protruding mouth element; Codex Vindobonensis 41; (c) flayed human face on shield; Late Classic Palenque (drawing: Karl Taube, from Houston et al. 2006:Fig. 1.10); (d) stuffed shrunken head worn as headpiece; Room 3 of Str. 1 (drawing: Karl Taube, from Houston et al. 2006:Fig. 2.13b); (e) stuffed shrunken head worn by warrior; detail of Late Classic Maya vase (drawing: Karl Taube, after Figure 5.10. Mask 6 (mostly destroyed), Mask 7, and Mask 8 on the cornice of the Temple’s western façade. Mask 8 is centered above the e Schele and Miller 1986:Fig. V.9a); (f) shrunken heads worn by door, to the left of which is an inverted human head and a massive Jaguar God of the Underworld. Drawing: Mary Clarke. Yax Pahsaj in war dance; detail of carved panel from Temple 18, Copan (drawing: Karl Taube, after Baudez 1994:Fig. 95b). f present on the lower Temple, especially Postclassic Mixtec of , Xipe and also appears on the aforementioned its western façade. This wall features a Totec can appear as a head with white bloody jaguar balustrades at Tonina massive head of the JGU with the burn- material protruding much like a tongue (Figure 5.8c). If the inverted heads ing jaguar ear and facial cruller (Figure from his mouth (Figure 5.11b). However, denote war trophies, their prominent 5.10). In addition, the headband is very aside from these Mixtec severed heads, placement at the western entrance to similar scaffold frieze (Figure 5.11a; see poles of these scaffolds have the same here that this particular grass was similar to the being on Tikal Stela 31 that highland Mexican Xipe figures never the Temple suggests a place of human Yadeun 1993:108-115). A more intact curling elements on the sides of the bamboo, a plant fully consistent with combines the JGU and GI (Figure 5.7b). display this curious attribute. sacrifice, as, probably, in the building portion of the diagonal scaffolding poles, indicating the presence of vegetal the segmented poles and side shoots Just to the south, there is an abstract With their white oral elements, the at Tonina. This is certainly the case also appears on the northern portion growth. seen on the west and north sides of the inverted human head with earspools Mixtec heads probably represent flayed for the skeletal Tlaloc sculpture from of the western doorway adjacent to the The segmented pole motif with the Temple. and a large pendant element next to the human faces wrapped over some sort of Temple 16 at Copan (Figure 5.8a). Not inverted head (Figure 5.10), suggesting outwardly curving forms on the sides Asia is not the only area with doorway; another was probably on the stuffing, quite probably unspun or wo- only is it devouring blood, but it forms that parts of the lower portion of the also appears in the inner shrine as well bamboo, as there are many native southern side of the doorway as well. ven cotton. In other words, they would part of a macabre façade of massive Temple may have been “wrapped” with as flanking alfarda panels of the Temple species in the Maya region (Breedlove These heads probably pertain to death be much like the well-known “shrunken human skulls surrounding the Tlaloc the motif of heads atop scaffolding. For of the Foliated Cross at Palenque, and Laughlin 2000:150-151, Pl. 10). and human sacrifice; similar pendant heads” of the Jívaro of Ecuador, the mask (Taube 2004a). This convention of this more intact portion, the scaffold- sculptures thematically devoted to both Terms vary in : bands appear on the stucco balustrade one difference being that the Mixtec marking structures as places of sacrifice ing also has horizontal poles as well, maize and royal accession (David Stuart, Tzotzil, bix (Olmeca sp., Otatea sp.), sculptures from Tonina, in this case with examples have the center core of cotton. can be traced to as early as the third suggesting a solidly constructed lattice. personal communication, 2013; Stuart ne kotom (Chusquea sp.), otot or taro jaguar masks having the trefoil blood Although not explicitly the flayed century ad at Tikal, where the principal For both the west and north façades, the 2006:135-149; see Robertson 1991:Pls. (Bambusa sp.; Breedlove and Laughlin motif in their jawless mouths (Figure deity, very similar examples of trophy stairway of the North Acropolis had scaffold poles have a central line seg- 165-167). The alfardas and sides of the 2000:150-151); Ch’orti’, har (genus 5.8c). The Temple heads likely refer to heads are common in Classic Maya massive stucco sculptures of inverted mented by horizontal bands, along with shrine roof are ornamented with the unknown; Wisdom 1950); and Ch’ol, flayed human faces as war trophies. iconography, often worn by armed humans severed in half, much like the pairs of curling elements at the sides. very same poles and vegetal growth chejp (genus unknown; Aulie and de At Late Classic Palenque, flayed faces men as tokens of victory, including Yax Hauberg Stela (Figure 5.8b; see Coe This rare motif is also found on the found on the Temple, but also the k’an Aulie 1998:171). Conceivably, the har in often appear on shields as a reference Pahsaj from Temple 18 at Copan (Figure 1990:4:Fig. 164, 5:Fig. 316). As with the famed “niche stelae” at Piedras Negras sign, a cross denoting concepts of yellow Ch’orti’, descending from hal—probably to warfare—the wide oval cut around 5.11d–f). Typically, the head hangs contact period Aztec, human sacrifice first identified by and preciousness (Figure 5.12a). In a cognate of Ch’ol jalal, a flute made the mouth does resemble the inverted inverted with long locks of hair, recall- was almost certainly performed on as monuments associated with royal addition, David Stuart (2006:135) notes from reeds—links in some manner to El Diablo faces (Figures 5.9, 5.10, and ing the long pendant elements below the temple stairways by the Classic Maya. accession (Figure 5.12b-d). As noted by that the name of the shrine or sanctuary the glyphic description of the Temple 5.11c). The Classic Maya flayed faces heads appearing on the west and north For the north façade example (Figure Taube (1988), the niche stelae portray refers to the same plant as shoots rising of the Foliated Cross. That building recall Xipe Totec of highland , a sides of the Temple. However, these 5.9), the inverted head appears atop scaffolds for human sacrifice, with the from a k’an cross. For Stuart, the vegetal was labeled in part by means of a sign deity who wears a flayed human skin hanging devices may also be paper, crossed diagonal poles, quite like trophy “niche” simply being the vertical poles elements represented a form of grass. that sometimes ends, as in Tomb 6 at over his torso and face. For the Late which is related to death and sacrifice, heads at Tonina which appear on a of the structure. The lower diagonal More specifically, a case can be made Río Azul, with a subfixed la syllable

Temple of the Night Sun 218 219 Masks and Iconography b

c

a

Figure 5.12. Portrayals of bamboo scaffolding in Late Figure 5.13. Mask 4, Chahk, on Classic Maya art: (a) bamboo scaffolding with k’an Temple’s north cornice beneath crosses appearing on roof of interior shrine in the seated ruler. Drawing: Stephen Temple of the Cross, Palenque (drawing by and courtesy Houston. of David Stuart, from Stuart 2006:135); (b) accession scaffold with diagonal bamboo poles; Piedras Negras Stela 33 (drawing: Karl Taube [1988:Fig. 12.14]); (c) base of accession scaffold with diagonal bamboo poles; Piedras Negras Stela 14 (drawing: Karl Taube [1988:Fig. 12.18]); (d) accession scaffold platform with diagonal bamboo poles near base; Piedras Negras Stela 11 (detail (Figure 5.13). It features a human foot- and queen or to the first major Period evidence that both beings feasted on of a drawing by and courtesy of David Stuart [Stuart print with a small portion of the bamboo Ending after an accession. Such bamboo blood. Other clues, only partly revealed and Graham 2003:Fig. 9:57]). scaffolding just to the east. Human framework was common at all Classic by excavation, point to something larger footprints are extremely rare in Maya Maya sites, referring to the basic ele- than an exposition of diurnal patterns. iconography, with the most obvious ments from which Maya monuments The trophy heads and shields express (cf. Adams 1999:Fig. 3-17, upper left glyph, east wall; examples being on the vertical strips on and structures were created—one can the martial underpinnings of rulership, Houston 1996:135, Fig. 3). The poles appearing on the the ladders of the bamboo scaffolds at imagine such light but sturdy scaffold- while the presence of possible parents accession scaffolds at Piedras Negras are likely to be Piedras Negras (Taube 1988:Figs. 12.15, ing inserted into visible holes associated roots kings in legitimate bloodlines. bamboo, which also relates to the far earlier scaffold 12.18). Remarkably enough, this motif with buildings at Tikal (Coe 1990:5:Figs. Transition, too: the scaffolding sug- scenes from the Late Preclassic murals from San also appears in one of the Late Preclassic 253a, c)—and to elemental concepts of gests that the Temple of the Night Sun Bartolo, Guatemala (Taube et al. 2010:Fig. 39). For the scaffold scenes on the West Wall mural human construction, founding, temporal celebrates a moment of change, implied scaffold appearing at the north end of the San Bartolo at San Bartolo, where a human footprint shifts, sacred space, and royal accession. by the royal body in Burial 9, leading West Wall murals, the platform is marked with k’an is depicted atop a strip of cloth or logically to other rulers of just lineage. crosses, which also appear with the bamboo poles on paper hanging from the center of the Tombs can also serve the living, and the the alfardas and roof of the shrine of the Temple of the platform (Taube et al. 2010:Fig. 39). The Conclusion Temple may well have been, for later Foliated Cross at Palenque (Figure 5.12a). Whether occurrence of the bamboo scaffold motif The stucco program on the Temple of generations, a place of accession and the k’an crosses refer to yellow bamboo or the concept on the Temple’s west and north sides the Night Sun is an ambitious compen- calendrical ceremonies. It facilitated of preciousness remains obscure. suggests that the entire building may dium of themes, executed by stucco contact with founders, reminding the In the entire El Diablo stucco program, a very d have been wrapped with this element, craftsmen of high skill. The focal im- people of El Zotz that dynasties can be- important detail is the vertical strip below the seated marking it as a structure devoted to agery concerns aspects of the sun and gin but must, by continued ritual, strive ruler and Chahk mask on the Temple’s north cornice the royal accession of a founding king a celestial companion, Chahk, with to endure.

Temple of the Night Sun 220 221 Masks and Iconography Figure 5.15. Mask 2, on the eastern cornice of the Temple. Image: Katie Simon, CAST.

Figure 5.14. Mask 1, on the eastern cornice of the Temple of the Night Sun. Image: Katie Simon, CAST.

Temple of the Night Sun 222 223 Masks and Iconography Figure 5.17. Mask 4, on the northern cornice of the Temple. Image: Katie Simon, CAST.

Figure 5.16. Mask 3, on the northeast corner of the Temple. Image: Katie Simon, CAST.

Temple of the Night Sun 224 225 Masks and Iconography Figure 5.19. Mask 7, on the western cornice of the Temple. Image: Katie Simon, CAST.

Figure 5.18. Mask 5, on the northern cornice of the Temple. Image: Katie Simon, CAST.

Temple of the Night Sun 226 227 Masks and Iconography Figure 5.21. Mask 12, on the southern cornice of the Temple. Image: Katie Simon, CAST.

Figure 5.20. Mask 8, on the western cornice of the Temple. Image: Katie Simon, CAST.

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